As Effie White, the full-throated and self-assured lead singer of the Dreamettes, Karen Richards is passionate and her big voice soars on songs like “Move.” Her heartfelt rendition of “And I Am Telling You I’m Not Going” shakes the roof and her delivery of “I Am Changing” is soulful and emotional. She also shines on the spare and plaintive “One Night Only.”

As Deena Jones, the lead singer who replaces Effie to give the group a more pop sound when they are renamed The Dreams, Morgan Rucker has the requisite smooth, strong voice to front the trio on songs like the poppy “Dreamgirls” and the disco-ized version of “One Night Only.”

As Lorell Robinson, the third member of the group, Juanita Shockley more than holds her own. Shockley really shows off her vocal chops in the powerful breakup song “Ain’t No Party.”

Brielle Rivera brings her softer, sweeter voice to the role of Michelle Morris, the replacement Dream who is brought in after Effie is fired.

Donte Wilder channels his inner James Brown with astonishing falsetto riffs as James Early, the rhythm and blues singer for whom the Dreamettes sing backup. His acrobatic voice is well-displayed in songs like “Fake Your Way to the Top” and “Steppin’ to the Bad Side.” His “I Meant You No Harm/Rap” is alternately touching and outrageous.

His soulful rendition of Cadillac Car” with the Dreamettes is cleverly juxtaposed with the sugary sweet pop version of the same song by Dave and the Sweethearts (William Jackson, Olivia Byrne and Julia Donahue).

Justin Boyd is oily but appealing as Curtis Taylor Jr. the Svengali-like manager of the Dreams. He shines in his duet with Deena, “You Are My Dream.”

As CC White, Effie’s conflicted brother, Jaden Boyd is understated but believable. He makes the most of his big moment in “Family,” when he convinces his sister to step back and let Deena sing lead.

Darius Mooring provides a clear-eyed, sober note to Marty, Jimmy’s original manager and the one who convinces Effie to stage a comeback.

Adding significantly to the show is the talented and versatile ensemble of more than 20. At various points, groups of four and five actors effectively depict various doo-wop groups singing tight harmonies and doing synchronized dance moves while dressed in matching outfits.

During concerts and television appearances depicted in the show, the ensemble fills the stage as dancers and fans. At times, ensemble members even sing from the aisles for a pleasingly enveloping effect.

The costumes by Brenda McGuire perfectly capture the 1960s and 1970s era, from the sweet petticoat polka dot dresses to slinky sequined gowns, as well as all those matching doo-wop group outfits.

Kin Danish’s wigs look good and even specifically play into a couple scenes.

The set by Brett Oliveira is made up of large raised circles that look like records and do double duty as multiple stages for the different singing groups. The backdrop showing the front of a jukebox is inspired.

The orchestra led by musical director Lucille Kincaid has the right brassy vibe. It sounds good but overpowers the singers at times.